On the market there is a gap between the functional and the aesthetic light tables. It is in this gap, I have chosen to work. As the light table is a piece of furniture that usually is used only a few hours a day, I have expanded the application area by exploring the possibilities of light in the table. I have designed a piece of furniture that can be used as a work surface, as well as a light source. By tilting the tabletop it can be adjusted to fit the users need. In the flat position when working at the table and in a tilted position the light shines on the walls and in the ceiling, and then reflects out in the room in your desired color, strength and tone. My investigation has been on how we are affected by light and the lighting effects which otherwise occur in natural light.

No description available.

Tråddragning är en kallbearbetningsprocess där tråd dras genom en dragsten, som plastiskt deformerar materialet och reducerar tvärsnittsarean. En viktig parameter i tråddragningsprocessen är draghastigheten - en ökad draghastighet kan förbättra produktiviteten, vilket är önskvärt för företaget Suzuki Garphyttan AB då efterfrågan på produkter har ökat. Dessutom är ökad produktivitet positivt i avseende med ekonomisk hållbarhet, men får inte ske på bekostnad av trådkvaliteten. En försämrad kvalitet kan leda till en större mängd skrot vilket är negativt utifrån ett miljömässigt hållbarhetsperspektiv. I detta examensarbete har åtta olika experiment utförts med syfte att undersöka hur ökad draghastighet och ett ökat vattentryck påverkar ytkvaliteten på kolstålet Oteva 75. Data i form av temperaturmätningar, ytjämnhet och djup av defekter har samlats in för att göra jämförelser och dra slutsatser mellan ökad draghastighet och ytkvalitet. Resultatet indikerar att det uppstår mindre variationer gällande ytjämnheten vid lägre hastigheter samt att djupet på repor inte har försämrats eller förbättrats i ett specifikt mönster vid ökade hastigheter. Med ett ökat vattentryck var djupet på repor minst vid mellersta hastigheten och ytjämnheten hade marginellt större variationer vid högre hastigheter jämfört med den lägsta. För att kunna dra generella slutsatser måste fler liknande experiment göras i framtiden. Variablerna måste observeras mer noggrant genom att till exempel använda samma maskin, samma smörjmedelsförhållanden och samma leverantör. Detta kan göras genom att testa samma trådring, i samma maskin. / Wire drawing is a cold-working process in which a wire is pulled through a drawing die, resulting in plastic deformation of the material and wire diameter reduction. One important parameter in the wire drawing process is the drawing speed. An increased drawing speed can improve productivity, which is desired for the company Suzuki Garphyttan AB due to the increased demand for products. Furthermore, improved productivity is positive in terms of economic sustainability, but cannot be at the expense of wire quality. Worsen quality may lead to increased amount of scrap which is negative from a perspective of environmental sustainability. In this master thesis, eight different experiments have been performed with the aim to examine how increased drawing speed-, and pressure of cooling water, affects the surface quality of the carbon steel Oteva 75. Data in terms of temperature measurements, surface roughness and depth of defects have been collected to make comparisons and conclusions between increased drawing speed and surface quality. The result indicates that there are less variations regarding the surface roughness at lower speeds than higher speeds. The depth of defects has not deteriorated or improved in a specific pattern at increased speeds. With increased water pressure, the depth of defects was smallest at the first speed increase and the surface roughness had marginally larger variations at the highest speed. To be able to draw general conclusions, more similar experiments must be done in the future. The variables involved need to be observed more carefully by, for example, using the same shaving equipment, the same lubrication conditions, and the same supplier. This can be done by testing on the same wire ring, in the same machine.

The Gotlandic smith has been depicted on several picture stones and is a subject of fear and respect in the Old Norse sagas. Their technological prowess can be identified through their skilful work and through the stories told about them, but one must delve deeper to identify the smith-craft itself. This thesis seeks to apply the practice of bone-smithing on the osteological material from the Gotlandic site of “Signallottan” located about a kilometre southeast of the Hanseatic walled city of Visby, a site which was excavated in 2018 to get a broader understanding of the site’s previous uses. In addition to this, an osteological and spatial analysis will be carried out to identify the role of the smith and the use of bones in smithing, as well as a literature study of texts depicting or discussing the smith from the perspective of the Icelandic sagas. The thesis will focus on the application of theoretical frameworks with their basis in materiality, agency, and entanglement to interpret what activities can be identified in Signallottan through the current analyses in correlation with the extensive previous identification of osteological material from the site. This thesis will seek to identify the animal species that are present in the osteological material as well as the degree of cremation of the bones, which could imply that bones were used in smithing practice and ritual during the Viking Age. Around 2,5kg of bones were analysed during the thesis, a majority of which were burnt. The spatial analysis of the site, which was carried out through GIS, reveals a connection between finds of iron, slag, and bone together with oxide scale to form the interpretation of the site as having been used for smithing, that may have used bone as fuel during the carbonisation-process. The smithing practices during the Viking Age are deemed to be a supernaturally connected practice with transformative implications of seiðr, old Norse magic, but are also practices that were highly dependent on the craftsman’s skill and a network of trade to receive the materials necessary for larger-scale production in an agricultural society.